Based, in part, on the novel 'Auschwitz
- A Doctor's Eyewitness Account' by
Dr Miklos Nyiszli and adapted from his stage play,
Tim Blake Nelson's The Grey Zone is a gruelling and harrowing account of one small
part of what is, quite probably, the most appalling
chapter in human history.

Nyiszli was deported, from Hungary, to Auschwitz-Birkenau
in April 1944. During the 'selection'
of new arrivals, Nyiszli was questioned about
his professional abilities and put to work as
a pathologist in the camp's crematoria,
under the instruction of Josef Mengele. Nyiszli
became a part of a group of forced labourers known
as the Sonderkommando - prisoners (mostly male)
selected for their professional abilities, their
strong constitution or their physical strength.
The Sonderkommando worked and lived exclusively
within the walls of the crematoria, away from
the disease and starvation of the camp itself,
and were treated fairly well, in comparison to
the rest of the prisoners - at least temporarily.
As witnesses to the full horror of the Nazi's
'Final Solution' the groups were liquidated,
usually after a period of four months, and replaced
with a new group.

"How can you know what you would do to
stay alive until you are asked?" is the
question asked by one member of the group of another
and so the same question is asked of the viewer.
Nelson shows the workings of the death factories
in graphic, gruesome detail - transports of people
are led by the Sonderkommando, to the accompaniment
of the prisoner's orchestra, into the crematoria,
stripped of their clothes and possessions and
then murdered (by the SS - the Sonderkommando
were 'spared' this duty) and their
bodies burnt, either in the crematoria ovens or
in huge pits behind the buildings. A chance for
redemption is given when some weapons and explosives
are smuggled into the camp with the help of the
female forced-labourers at one of the complex's
subcamps. The group argue over the course of action
to take. Some of the men believe the weapons should
be used to enable them to escape, gain their freedom
and tell the world of the horrors they have witnessed
(or in some cases, simply to escape) while others,
who feel that they do not wish for a life after
what they have been forced to do, believe that
their only remaining purpose is to slow the destruction
in any way they can. A further moral question
is raised when a young girl is found to have survived
the gas. Nursed back to life by Nyiszli, the girl
is hidden in one of the building's changing
rooms. Some of the group feel that her presence
could jeopardise the uprising, an action that
could potentially save thousands, and so one life
is not worth the risk while others in the group
feel that she must be saved at all costs, allowing
them a last grasp at a thread of humanity.

Nelson doesn't offer the viewer any answers
to these questions. The Sonderkommando are despised
equally on both sides - by the Germans because
they can be 'convinced' to perform
these duties and by their own countrymen because
they, in their eyes, assist the enemy in their
hideous crimes. Nyiszli, although he is the Sonderkommando's
Doctor, is not trusted by the group because of
his association with Mengele, while his only real
aim is to find and ensure the safety of his family
who are somewhere in the camp. Again, Nelson asks
the viewer, 'What would you have done?'

Filmed within a partial reconstruction of the
Birkenau camp, Nelson adds a great deal of authentic
detail that will be spotted by those with some
knowledge of the subject matter: the 'Red
Cross' van outside the crematoria, the Sonderkommando
member anaesthetising himself with alcohol before
entering the gas chamber to remove the bodies,
the aforementioned orchestra - so many small details
are present that I would recommend that potential
viewers read Nyiszli's book before viewing
the film so these details do not pass them by.

The Grey Zone, while successful
in bringing this little known chapter of the holocaust
to the attention of movie audiences and equally
successful in raising the moral questions that
confronted these people, is sadly not without
it's faults. The script is a little clunky
and slow moving at times, showing it's stage
origins, and the decision to have all the characters
(Germans, Poles etc.) speak English is a major
error, in my humble opinion at least. I'd
much rather have had the characters speaking in
their own language, with the addition of the appropriate
subtitles, than listen to Keitel's lame
German accent - more evidence of the film's
stage origins I would guess but it does drag the
viewer out of the film at times. One surprise
amongst the cast is David Arquette - he really
is excellent here. Anyone who has only seen him
as a goofy, masked-killer-chasing cop or running
around after giant spiders will be pleasantly
surprised by the quality of his performance in
this film. Nelson directs with a sure hand and
handles the harrowing and difficult subject matter
with the necessary respect, never allowing the
film to wander towards exploitation territory.

Video

The Grey Zone is presented via
a high quality, widescreen enhanced transfer. Detail
levels are excellent and the drab colour palette
is well reproduced. Grain is kept to a minimum and
print damage is non-existent.

Audio

For a film with a relatively low key score and
effects the surround track is surprisingly subtle
and effective. Voices and background noises are
spread around the soundstage and the ominous rumblings
of the crematoria are chillingly effective. An involving
and appropriate audio track.

Extra Features

A little light on bonus materials.

The packaging does promise an audio commentary
for the feature but it is, unfortunately, nowhere
to be found. Nelson decided against providing
a commentary for the film but does offer his views
on a few deleted scenes and the reasons why he
decided to cut them from the finished film. Lastly,
an easily found easter-egg leads to some trailers.
That's your lot I'm afraid as far
as bonus materials go. Some mention of the source
material for this film and some historical background
would have been a welcome addition as I'm
sure that many viewers will not realise that the
events documented here actually happened but,
sadly, none is offered.

The Verdict

The Grey Zone hits the viewer
hard with some horrific and unforgettable imagery
and also some thought provoking questions but, sadly,
it's shortcomings with regards to the script
and dialogue drag it down a little. It's still
an undeniably powerful film though and one that
sticks in the mind for a long time after viewing
and, therefore, earns a recommendation from me on
that point alone.

Originally born unto this world as Terror Australis.net back in March 2002, Digital Retribution is a proudly Australian website devoted to all things horror, cult, and exploitation that strives to promote Australian films and filmmakers while sharing its questionable taste in ultra-violent smut-laden local and international offerings with the rest of the world.